No Repose; an essay to be read by winter sunlight.

by angharad davies

No Repose; an essay to be read by winter sunlight. A history of the Chicago Sck Exchange Trading Room can be summarised as such; a room was built, a room was destroyed, a room was reconstructed elsewhere.

[His] body was caught in between.

roommonumentroom

‘Architecture becomes the discourse of events as much as the discourse of spaces.’1

score, notch, cut. Construction hole, striation, boundary line. Geographic abrasion, stain, smear. Forensic

In the field of restoration the dints of past conflicts, the impressions of habit and the discolouration of successions of scorched days, are evidence of what might have once been there. These witness marks offer clues. The Trading Room today bears no marks. It is catatonically preserved. A husk.

Two ways to cleave a husk.

A history of the Chicago Stock Exchange Trading Room can be summarised as such; a room was built, a room was destroyed, a room was reconstructed elsewhere.

[His] body is caught in between.

OR

No Repose; an essay to be read by winter sunlight.

A history of the Chicago Stock Exchange Trading Room can be summarised as such; a room was built, a room was destroyed, a room was reconstructed elsewhere.

[His] body was caught in between. roommonumentroom

‘Architecture becomes the discourse of events as much as the discourse of spaces. 2

score, notch, cut. Construction hole, striation, boundary line. Geographic abrasion, stain, smear. Forensic

In the field of restoration the dints of past conflicts, the impressions of habit and the discolouration of successions of scorched days, are evidence of what might have once been there. These witness marks offer clues. The Trading Room today bears no marks. It is catatonically preserved. A husk.

1 The Modern Institute website 13 December 2017.2 Bernard Tschumi “Space and Events” in Architecture and Disjunction, 1994. 149.

Realised specifically for the exhibition Cuttings, Shedboatshed (Mobile Architecture No.2) is a reinterpretation of the idea of mobile architecture. The project involves the movement of a found structure, an old wooden shed, from one riverside location to another. This journey of 8 km downstream from Schweizerhalle to the centre of Basel was undertaken through the temporary mutation of the shed into a boat. This boat, a copy of a tradition Weidling, was made only with wood from the shed and was subsequently used as a transport system for the remaining parts of the structure. The shed already included an oar of the type used on Weidlings nailed to its facade as decoration. In its new location, the Museum für Gegenwartskunst, the boat was then dismantled and once again reconfigured into its original form, but for a few scars left over from its life as a boat, it stands just as it once did several kilometres upstream.1 Shedboatshed (Mobile Architecture No. 2) Simon Starling

A history of the Chicago Stock Exchange Trading Room can be summarised as such; a room was built, a room was destroyed, a room was reconstructed elsewhere.

[His] body is caught in between.

OR

First Way : as void

‘Essential is not the form, but its reversal, space; the void that expands rhythmically between the walls, and is defined by walls.’1

In order to understand the void that [he] left behind let’s start at the centre and write towards the edges.

‘I am sitting in a room different from the one you are in now I am recording the sound of my speaking voiceAnd I am going to play it back into the roomAgain and againUntil the resonant frequencies of the roomReinforce themselvesSo that any semblance of my speechwith perhaps the exception of rhythm is destroyedwhat you will hear then are the natural resonant frequencies of the roomarticulated by speechI regard this activity, not so much as a demonstration of a physical factbut more as a way to smooth out any irregularities my speech might have’2

Alvin Lucier first recorded I am sitting in a room in Electronic Music Studio at Brandeis University in 1969. The sentences are stopped by the room’s edges - walls, ceilings, floors - and its objects, to be reflected back into microphones. This feedback plays back to be reflected back. On and on anon and so on. The material of the voice becoming the architecture of the interior. A solid cladding constructed from the centre of a body.

26th November 2017. The English National Opera and collected choirs sang a new work inspired by Aida in the Renaissance and Medieval Galleries of the Victoria and Albert Museum, London. Aida has been sung, by New York’s Metropolitan Opera alone, more than 1,100 times since 1886.3 [How many rooms have been constructed in the singing of these songs?]. I watched to see how the museum’s fragments responded to the voices in the same way I had watched the museum pieces at the Art Institute; to see how they resisted the song of tourist chatter. To see how they shuddered.

I never saw anything move there. Of the eight or nine times I entered into [his] static void. It always felt like trespassing. The doors were rarely open. More often glances would be cast from the corridor along its eastern edge; a visual encounter with [his] architectural coccon. Eyes and imagination, hands remain by sides. And always very silent. No resonant voice to expand in [his] space.

It becomes was not so much a demonstration of physical fact. A question of perception then?

The perception of a building that was deemed dead.

’To see a building come down, to see the guts exposed, to see everything hanging; all the wiring, all the internal workings. To see the building flayed before your eyes.’ 4

A question of what then was room they had cut from its centre?

1 August Endell quoted in van de Velt quoted by Adrian Forty Words and Architecture, 262.’2 Alvin Lucier I am sitting in a Room sound recording (45:24) 1969.

3 David Norris interviewed ‘The Richard Nickel Story’ (2016) Chicago Stories, WTTW, 25 May 2016.

First Way : as void

‘Essential is not the form, but its reversal, space; the void that expands rhythmically between the walls, and is defined by walls.’1

In order to fill the void let’s start at the centre and write towards the edges.

‘I am sitting in a room different from the one you are in now I am recording the sound of my speaking voiceAnd I am going to play it back into the roomAgain and againUntil the resonant frequencies of the roomReinforce themselvesSo that any semblance of my speechwith perhaps the exception of rhythm is destroyedwhat you will hear then are the natural resonant frequencies of the roomarticulated by speechI regard this activity, not so much as a demonstration of a physical factbut more as a way to smooth out any irregularities my speech might have’

Alivin Lucier first recorded I am sitting in a room in Electronic Music Studio at Brandeis University in 1969. The sentences are stopped by the room’s edges - walls, ceilings, floors - and its objects, to be reflected back into microphones. This feedback plays back to be reflected back. On and on anon and so on. The material of the voice becoming the architecture of the interior. A solid cladding constructed from the centre of a body.

26th November 2017. The ENO and collected choirs sang a new work inspired by Aida in the Renaissance and Medieval Galleries of the Victoria and Albert Museum, London. Aida has been sung, by New York’s Metropolitan Opera alone, more than 1,100 times since 1886. [How many rooms have been constructed in the singing of these songs?]. I watched to see how the museum’s fragments responded to the voices the same was I had watched the museum pieces at the Art Institute; to see how they absorbed the song of tourist chatter.

I think I could recall the number of times I entered [his] space; barely eight or nine? If I happened to be passing aong the corridor and the doors were open I would go in. The doors were rarely open. More often glances would be cast from the corridor along its eastern edge; a visual encounter with this contemporary coccon. Eyes and imagination, hands remain by sides. And always very silent.

It was not so much a demonstration of physical fact. A question of perception then?

A perception of a building deemed dead,*

’To see a building come down, to see the guts exposed, to see everything hanging; all the wiring, all the internal workings. To see the building flayed before your eyes.’

A question of what then was room they removed from its centre?

1 August Endell quoted in van de Velt quoted by Adrian Forty Words and Architecture, 262.’2 Alvin Lucier I am sitting in a Room sound recording (45:24) 1969.

3 Wikipedia, https://en.wikipedia.org/wiki/Aida4 David Norris interviewed ‘The Richard Nickel Story’ (2016) Chicago Stories, WTTW, 25 May 2016.

Second Way : as skin

‘Two blue-grey pelts hung from the drying hook, blood black as tar dripping into apail. On the workbench lay a yellow skin, piebald with purple stains, and beside it theskull, still flesh-streaked, still wet.’1‘They provided the building with a skin of plastic materials - terracotta on the exterior and plaster and stencils on the interior.’

Brightly coloured canvasses comprising of fifty-two colours. Greens and yellows, pale beige and muted peach, ochres and oranges, with some blue-grey in between.

And mahogany wainscoting and windows, and art-glass skylights and scagliola on the eight columns. And in big letters.

“NEW YORK STOCK EXCHANGE QUOTATIONS” “CHICAGO STOCK EXCHANGE QUOTATIONS”

And gold, lots and lots of gold, emited from the Edison light bulbs and pushed as leaf into the pockets of the capitals. A demonstration of the money held in stocks and shares. And large clock to keep time. And black chalkboards to keep tally. And a lecturn and balcony to keep an eye.

Second Way : skin

‘Two blue-grey pelts hung from the drying hook, blood black as tar dripping into apail. On the workbench lay a yellow skin, piebald with purple stains, and beside it theskull, still flesh-streaked, still wet.’1‘They provided the building with a skin of plastic materials - terracotta on the exterior and plaster and sten-cils on the interior.’2

Brightly coloured stencils comprising of fifty-two colours. Mostly greens and yellows, pale beige and muted peach, orchres and oranges, with some blue-grey in between.

And wooden panels across the walls and panes of glass inlaid into the ceiling.

“NEW YORK STOCK EXCHANGE QUOTATIONS” “CHICAGO STOCK EXCHANGE QUOTATIONS”

And gold to show the money held in stocks and shares. A large clock to keep time and black chalk boards to keep tally. And a lecturn and a balcony from which to procede over procedings.

1 Zoe Gilbert. Fishskin, Hareskin 2014 Costa Short Story Award. 6.2 John Vinci. The Trading Room. The Art Institute of Chicago’ 1989. 7.

score, notch, cut. Construction*

The Chicago Stock Exchange Building (*1893-94) was designed by Dankmar Adler and Louis Sullivan. In between the envelope and the interior cladding was the Chicago frame. It was commissioned as a thirteen storey structure. The Trading Room occupied the second and third floors of the building. A vast cubic space carrying the eleven floors above.

64ft by 81ft with a 30ft ceiling1

The space (like much of the city(‘s)

success relied upon its use as the new Chicago Stock Exchange. For fourteen years cattle and grain were traded on its floors, until the discounted-lease expired, and the exchange relocated to Burnham and Root’s Rookery Building just up the road.

Ironically, coincidentally, predictably. The Rookery Building was also under threat of demolition as they searched the rubble for [his] body.

Another notch.

As for its occupants after the exchange left, next came the Foreman Brothers’ Banking Company, money, only to be expelled by the crash of 1929, no money, leaving the room vacant until in the late 1930s when the Bell Savings and Loans Company’s, money, remodelled the space by adding a false ceiling to house their air-conditioning units; an imposition that unintentionally preserved the paintwork for future restoration. The final tenants, United Services Organization, operated a social centre for military personnel.

Repeatedly repurposed. The procession of occupations prepared the room to be cleanly cut from the centre of building. It was used to transformation.

The space was a speculation.

Looking upward. Over the walls and ceiling scores of stencils flock like London’s ring-necked parakeets. Pairs of lines looping about one another in those fifty-two shades. It is said that two were released into the wild in 1960s. Today the U.K. Department for Environment, Food and Rural Affairs estimates there are 8,600 breeding pairs3populating the trusses of the capital. Slashes of green scoring winter’s naked branches. They persist despite the turn in the weather.

A vast cubic space with windows on two sides that looked down onto the street.

East towards the lake. And south towards the sun.

1 Vinci, John. The Trading Room The Art Institute of Chicago, 1989. 252 Statistics from Royal Society for the Protection of Birds website http://ww2.rspb.org.uk/birds-and-wildlife/bird-and-wildlife-guides/bird-a-z/r/ringneckedparakeet/

score, notch, cut. Construction*

The Chicago Stock Exchange Building (*1893-94) was designed by Dankmar Adler and Louis Sullivan. In between the envelope and the interior cladding was the Chicago frame. It was commissioned as a thirteen storey structure. The Trading Room occupied the second and third floors of the building. A vast cubic space carrying the eleven floors above.

64ft by 81ft with a 30ft ceiling

The space (like much of the city(‘s)

success relied upon its use as the new Chicago Stock Exchange. For fourteen years cattle and grain were traded on its floors, until the discounted-lease expired, and the exchange relocated to Burnham and Root’s Rookery Building just up the road.

Ironically, coincidentally, predictably. The Rookery Building was also under threat of demolition as they searched the rubble for [his] body. 2 Another notch.

As for its occupants next came the Foreman Brothers’ Banking Company, money, only to be expelled by the crash of 1929 leaving the room vacant until in the late 1903s when the Bell Savings and Loans Company’s, money, remodelled the space by adding a false ceiling to house their air-conditioning units; an imposition that unintentionally preserved the paintwork for future restoration. The final tenants, United Services Organization, operated a social centre for military personnel.

Repeatedly repurposed. The procession of occupations prepared the room to be cleanly cut from the centre of building. It was used to transformation.

The space was a speculation.

Looking upward. Over the walls and ceiling scores of stencils flock like London’s ring-necked parakeets. Pairs of lines looping about one another in those fifty-two shades. It’s said that two were released into the wild in 1960s. Today the U.K. Department for Environment, Food and Rural Affairs estimates there are 8,600 breeding pairs3 populating the trusses of the capital. Slashes of green scoring winter’s naked branches. They persist despite the turn in the weather.

A vast cubic space with windows on two sides that looked down onto the street.

East towards the lake. And south towards the sun.

1 John Vinci. The Trading Room The Art Institute of Chicago, 1989. 25.2 Statistics from Royal Society for the Protection of Birds website

hole, striation, boundary line. Geographic Hole. ‘Steel makes no sound before it yields.’1

‘[He] was either in the Trading Room or directly underneath in the first-floor restaurant when a section of the Trading Room floor collapsed. Either a steel beam loosened and crashed onto the floor, or the floor gave way by itself.’

During the process of demolition of the Chicago Stock Exchange Building in 1972 the Three Oaks demolition company had flooded the walls of the building with water to keep the dust down. Adding weight to the unstable, partially demolished structure.

The room

100 feet long, 75 feet wide, 30 feet tall - was cold and dark.3

had grown

1 Richard Cahan. They All Fall Down. Washington D.C: The Preservation Press, 1994. 229.2 Ibid.

hole, striation, boundary line. Geographic Hole.| ‘Steel makes no sound before it yields.’1

‘[He] was either in the Trading Room or directly underneath in the first-floor restaurant when a section of the Trading Room floor collapsed. Either a steel beam loosened and crashed onto the floor, or the floor gave way by itself.’2

During the process of demolition of the building in 1972 the Three Oaks demolition company had flooded the walls of the building with water by the to keep the dust down. Adding weight to the unstable partially demolished structure.

The room

100 feet long, 75 feet wide, 30 feet tall - was cold and dark. had grown

1 Richard Cahan. They All Fall Down, 1994. 229.2 ibid., 221.3 Ibid., 229.

hearsay ‘That’s how come [he] died. [he] was a young guy with a wild interest in Louis Sullivan. And all those buildings of this Chicago genius. The one who Frank Lloyd Wright referred to as his “lieber Meister”. Sullivan, who gave Chicago its good name as the architectural Athens. Sullivan, who died on skid row, dreaming of the City of Man. Anyway, when [he] heard they were tearing down the Stock Exchange Building, one of the jewels in Sullivan’s crown, and he saw it becoming sudden rubble, he went down there to save whatever he could. A piece of this, a piece of that. He was a blessed scavenger. I guess he was down there one day while the wreckers were still at work. He couldn’t wait. He was afraid they’d cart the stuff off, God knows why, and dump it, God knows where. And nobody would ever know that Louis Sullivan ever existed. A guy like Dick got too emotional about things. Anyway, the wreckers didn’t see him and all kinds of stuff fell on him and buried him. And he died. I had met [him], oh, maybe a month or so before it happened. They way he talked, oh God, about beauty and past and history and how we must hang on to some things and continuity and all that stuff, and I guess you’d have to say he was crazy.’1

Striation Returning again and again, ‘He could feel buildings. Each had a soul.’2 [He] initially became involved with Louis Sullivan’s work in the early 1950s through photography. The act of documenting architecture began whilst studying at Illinois Institute of Design under photographer Aaron Siskind. By 1960 his documentation had turned to salvaging, scavenging... stealing^? and campaigning against the demolition of Sullivan’s buildings. Sullivan’s reputation was still considered to be on skid row. Many of his buildings were in disrepair or tasked for destruction. Having failed to save the Garrick Theatre from becoming a parking garage [he] had taken a backseat in the three year fight to save the Stock Exchange.

In life boundary lines move^? The stones that embellished the entrance of Garrick were moved to Second City Theatre. ‘[She] wondered why other countries seem to want them and hold on to them and be proud of them. ‘I don’t call that progress, the need to go on and on and on. To have no Sitzfleisch, as we say in German, No repose.’3

‘Steel makes no sound before it yields.’5

Falling Like diving

[He] dove through the floor.

1 Studs Terkel. Chicago. 86-87.2 Richard Cahan. They All Fall Down. Washington D.C: The Preservation Press, 1994. 11.3 Elizabeth Chaplin talking to Studs Terkel. Chicago. 88-89.4 Horst Heheisel Aschrottbrunnen Kassel 1987.

4

hearsay ‘That’s how come [he] died. [he] was a young guy with a wild interest in Louis Sullivan. And all those buildings of this Chicago genius. The one who Frank Lloyd Wright referred to as his “lieber Meister”. Sullivan, who gave Chicago its good name as the architectural Athens. Sullivan, who died on skid row, dreaming of the City of Man. Anyway, when [he] heard they were tearing down the Stock Exchange Building, one of the jewels in Sullivan’s crown, and he saw it becoming sudden rubble, he went down there to save whatever he could. A piece of this, a piece of that. He was a blessed scavenger. I guess he was down there one day while the wreckers were still at work. He couldn’t wait. He was afraid they’d cart the stuff off, God knows why, and dump it, God knows where. And nobody would ever know that Louis Sullivan ever existed. A guy like [him] got too emotional about things. Anyway, the wreckers didn’t see him and all kinds of stuff fell on him and buried him. And he died. I had met [him], oh, maybe a month or so before it happened. They way he talked, oh God, about beauty and past and history and how we must hang on to some things and continuity and all that stuff, and I guess you’d have to say he was crazy.’1

Striation Returning again and again. ‘He could feel buildings. Each had a soul.’2. [he] initially became involved with Louis Sullivan’s work in the early 1950s through photography. The act of documenting architecture began whilst studying at Illinois Institute of Design under photographer Aaron Siskind. By 1960 his documentation had turned to salvaging, scavenging... stealing^? and campaigning against the consignment of Sullivan’s buildings. Sullivan’s reputation was still considered to be ‘on skid row’. Many of his buildings were in disrepair or tasked for demoliton. Having failed to save the Garrick Theatre* from becoming a parking garage [he] had taken a backseat in the three year fight to save the Stock Exchange.

In life boundary lines move^? ’The stones that embellished the entrance of Garrick were moved to Second City Theatre. ‘[She] wondered why other countries seem to want them and hold on to them and be proud of them. ‘I don’t call that progress, the need to go on and on and on. To have no Sitzfleisch, as we say in German, No repose.’3

‘Steel makes no sound before it yields.’1

Falling Like diving[He] dove through the floor

1 Studs Terkel. Chicago’ 1986. 86-87.2 Richard Cahan. They All Fall Down, 1989. 11.3 Elizabeth Chaplin talking to Studs Terkel. Chicago, 1986. 88-89.4 Horst Heheisel Aschrottbrunnen Kassel, 1987.5 Richard Cahan. They All Fall Down, 1994. 229.

abrasion, stain, smear. Forensic ‘No sound of any kind.. No screaming for help for example...should she feel so inclined… scream… [Screams]...then listen…[Silence]...scream again…[Screams again]...then listen again... [Silence]...’1

No longer original. No trace at all. No sound from before. In its preservation it became weightless. Relieved of the eleven storeys above.

‘The Old Saxon wuon, the Gothic wunian, like the old word bauen, mean to remain, to stay in a place. But the Gothic wunian says more distinctly how this remaining is experienced. Wunian means to be at peace, Friede, means the free, das Frye; and fry means preserved from harm and danger, preserved from something, safeguarded. To free actually means to spare. The sparing itself consists not only in the fact that we do not harm the one whom we spare. Real sparing is something positive and takes place when we leave something beforehand in its own essence, when we return it specifically to its essential being, when we “free” it in the proper sense of the word into a preserve of peace within the free, the preserve, the free sphere that safeguards each thing in its essence.’2

1976-77 Here ‘we have something which answers and something which anticipates.’3

An after reconstructed to before the before. a way to smooth out any irregularities.No stain at all. Here we have no space for questions in between.

Instead a space for (non)events? Interested? Call (312) 443-3530.

1 Samuel Beckett Not I 1973. 16.2 Building Dwelling Thinking Basic writings. Martin Heidegger 3513 Rowe discussing a comparison by Sigfried Giedion of the Reliance Building by Daniel Burnham and Mies van der Rohe’s Glass Tower Project in Colin Rowe Chicago Frame in The Mathematics of the Ideal Villa and other Essays. Massachusetts: MIT Press 1976, 105.

abrasion, stain, smear. Forensic ‘No sound of any kind.. No screaming for help for example...should she feel so inclined… scream… [Screams]...then listen…[Silence]...scream again…[Screams again]...then listen again... [Silence]...’1

No longer original. No trace at all. No sound from before. In its collapse it became weightless. Relieved of the eleven storeys above.

‘The Old Saxon wuon, the Gothic wunian, like the old word bauen, mean to remain, to stay in a place. But the Gothic wunian says more distinctly how this remaining is experienced. Wunian means to be at peace, Friede, means the free, das Frye; and fry means preserved from harm and danger, preserved from something, safeguarded. To free actually means to spare. The sparing itself consists not only in the fact that we do not harm the one whom we spare. Real sparing is something positive and takes place when we leave something beforehand in its own essence, when we return it specifically to its essential being, when we “free” it in the proper sense of the word into a preserve of peace within the free, the preserve, the free sphere that safeguards each thing in its essence.’2

1976-77 Here ‘we have something which answers and something which anticipates.’3

An after reconstructed to before the before, a way to smooth out any irregularities.And no human stain. And no space inbetween for questions.

But a space for events? Interested? Call (312) 443-3530.

1 Samuel Beckett Not I. 1976. 16.2 Martin Heidegger. Building Dwelling Thinking in Basic writings. 351.3 Rowe discussing a comparison by Sigfried Giedion of the Reliance Building by Daniel Burnham and Mies van der Rohe’s Glass Tower Project in Colin Rowe Chicago Frame in The Mathematics of the Ideal Villa and other Essays, 1976. 105.

And yet Murder on the Dance Floor

Personalities rubbing up against one another. Abrasively. Smartly waltzing. Rubloff with Griffin. Pritzler with Fullerton. McKinlock and Regenstein followed closely by members of the Bluhm Family. And [him] left at the side.

is not the same as Murder on the Southside.

Apart from in one respect; witnesses speech is smeared silent, and no one is named.

Here events happened to it, rather than in it. Again and again. Until the resonant frequencies of the room. Reinforce themselves…

Until the words become so close together that there is no space for a breath between.

Upstairs in the National Archeological Museum in Athens is the Spring Frecso. It was extracted from archeological site at Akrotiri on the southern tip of the Island of Santorini. The site at Akrotiri has had its skin removed. Left behind is a blind rubble.

“The growing intensity of light was drinking the colour out of the scene before us.’1

And the room had shrunk

65 x 80ft2

embarrassed

1 Bernard Tschumi Advertisements for Architecture 1976-772 Reyner Banham Scenes in America Deserta. London : Thames and Hudson,1982, 6.3 Art Institute of Chicago website

Murder on the Dance Floor

Personaliteis rubbing up against one another. Abrasively. Smartly waltzing. Rubloff with Griffin. Pritzler with Fullerton. McKinlock and Regenstein followed closely by members of the Bluhm Family. And [him] left as a wallflower.

is not the same as Murder on the Southside.

Apart from in one respect; witnesses speech is smeared silent.

Here events happened to it, rather than in it. Again and again. Until the resonant frequencies of the room. Reinforce themselves…

Until the words become so close together that there is no space for a breath between.

Upstairs in the National Archeological Museum in Athens is the Spring Room. It was extracted from archeological site at Akrotiri on the southern tip of the island of Santorini. The site at Akrotiri has had its skin removed. Left behind is a blind rubble.

“The growing intensity of light was drinking the colour out of the scene before us.’1

And the room had shrunk

65 x 80ft

embarrassed

1 Bernard Tschumi Advertisements for Architecture 1976-77.2 Reyner Banham Scenes in America Deserta, 1982. 6.3 Art Institute of Chicago website

Final Repose: an act of reclaimation.

The room demands one final condition.

‘Project designer Walter Netsch of Skidmore, Owens and Merrill, architects for the Art Institute’s East Wing, accommodated this condition by placing a slightly tapering corridor behind the room’s south wall.’

For pioneer merchant P. F. W. Peck’s original site for the Chicago Stock Exchange was not square. LaSalle street tapers to the west. The room made the building move. Fifteen inches. Slightly smaller than a piece of standard legal paper.

The same south wall from which the traders would look down onto street. The same south wall that now looks into a corridor. The same south wall that misses the cast of the winter sunlight.

2

Here in these few pages that light is reclaimed for [him].

1 John Vinci. The Trading Room: Louis Sullivan and the Chicago Stock Exchange The Art Institute of Chicago, 1989. 61.2 Richard Nickel. Adler and Sullivan’s Stock Exchange Building, October 1971.

Final Repose: reclaimation.

The room demands one final condition.

‘Project designer Walter Netsch of Skidmore, Owens and Merrill, architects for the Art Institute’s East Wing, accommodated this condition by placing a slightly tapering corridor behind the room’s south wall.’

For pioneer merchant P. F. W. Peck’s original site for the Chicago Stock Exchange was not square. LaSalle street tapers to the west. The room made the building move. Fifteen inches. Slightly smaller than a piece of standard legal paper.

The same south wall from which the traders would look down onto street. The same south wall that now looks into a corridor. The same south wall that misses the cast of the winter sunlight.

2

Here for these few pages that light is reclaimed for [him].

1 John Vinci. The Trading Room: Louis Sullivan and the Chicago Stock Exchange, 1989. 61.2 Richard Nickel. Adler and Sullivan’s Stock Exchange Building, October 1971.

Bibliography

Banham, Reyner. Scenes in America Deserta. London : Thames and Hudson,1982.

Beckett, Samuel Not I. London : Faber and Faber, 1976.

Bluestone, Daniel. “Preservation and Renewal in Post-World War II Chicago.” Journal of Architectural Education (1984-) 47, no. 4 (1994): 210-23. doi:10.2307/1425339.

Cahan, Richard. They All Fall Down: Richard Nickel’s Struggle to Save America’s Architecture. Preservation Press, 1994.

Forty, Adrian. Words and Buildings: A Vocabulary of Modern Architecture. London : Thames & Hudson, 2016.

Gilbert, Zoe. Fishskin Hareskin, 2014. Accessed : 9 December 2017 https://www.costa.co.uk/media/281769/Fishskin-Hareskin-for-website.pdf

Heidegger, Martin. “Building Dwelling Thinking” in Basic writings. Washington : Washington University, 1993. Accessed : 13 December 2017 : http://designtheory.fiu.edu/readings/heidegger_bdt.pdf

Loos, Adolf. “The Principle of Cladding” in On Architecture. California : Ariadne Press, 2002. 42-47.

Lucier, Alvin. I am sitting in a Room. Sound recording (45:24), 1969. Accessed : 13 December 2017 : https://www.youtube.com/watch?v=fAxHlLK3Oyk

Newman, Margie (producer) “The Richard Nickel Story” (2016) Chicago Stories, WTTW, 25 May 2016. Accessed : 31 October 2017 : http://interactive.wttw.com/a/chicago-stories-richard-nickel-story

Nickel, Richard and Aaron Siskind with John Vinci and Ward Miller. The Complete Architecture of Adler & Sullivan. Chicago : University of Chicago Press, 2010.

Reed, Brian. Shit-town. Chapter 1. Serial and This American Life, 2017.

Rowe, Colin. “Chicago Frame” in The Mathematics of the Ideal Villa and other Essays. Massachusetts : MIT Press, 1976.

Royal Society for the Preservation of Birds website. Acessed : 27 November 2017https://www.rspb.org.uk/birds-and-wildlife/bird-and-wildlife-guides/bird-a-z/r/ringneckedparakeet/

Soane, John. Crude Hints towards an History of my House in Lincoln’s Inn Field. Oxford : Archaeopress Publishing, 2015.

Tschumi, Bernard. “Space and Events” in Architecture and Disjunction. Cambridge : MIT Press, 1994.

Terkel, Studs. Chicago. New York : Pantheon Books, 1986.

Vinci, John. The Trading Room: Louis Sullivan and the Chicago Stock Exchange. The Art Institute of Chicago, 1989.